Slant Magazine's Scores

For 2,201 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Lowest review score: 0 Losing Control
Score distribution:
2,201 movie reviews
  1. A glorified act of hero worship that leaves one hard-pressed to form any conclusion other than an infinitely positive one about Shep Gordon.
  2. Jerome Sable's debut feature couldn't be further from De Palma's delirious cinematic essays on vision and genre.
  3. With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
  4. Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
  5. Robin Williams once again proves he can insufferably crank the energy to 11 without batting an eye, only this time his frenzied comic demeanor is replaced with equally harried contempt.
  6. It becomes clear pretty quickly that Mike and Carlos Boettcher's insider perspective allows for close to no context beyond what their cameras directly capture.
  7. All the whiny point-scoring is such an explicit appeal for audience sympathy that the dialogue feels derived from a malnourished stand-up routine.
  8. The women of the film certainly deserve better, as they're often relegated to the role of victim, harmed or murdered simply to propel the plot along.
  9. Guy Ritchie may have creatively moved on from his Tarantino-inspired debut, but international crime cinema has not, as again evidenced by Magnus Martens's film.
  10. Paco Cabezas's film is little more than a revenge relic pretending that the ethical treatise of David Cronenberg's A History of Violence never happened.
  11. The film is like an episode of Gossip Girl that's mistaken itself for one of the great satires by Evelyn Waugh.
  12. The characters, the sets, and the scenes all exist to propagate the notion that pleasure derives from repetition and remediation.
  13. It's hard to see the fiscal woes at the center of Zach Braff's second feature as anything more than a fashionable depiction of first-world problems.
  14. It's not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
  15. Just as Michael Douglas doesn't have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton's jangled neurotic tics lack any dramatic import.
  16. This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
    • 29 Metascore
    • 25 Critic Score
    Never once does it project an intuitive understanding of how humans would behave or react in the midst of such a shattering misfortune.
  17. Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.
  18. A film so overworked to ensure mass-market appeal that it loses the charming oddness and loose goofiness that has allowed these characters to endure.
  19. For all the brawn on display, the film never slows down to take in the thrill and talent of hand-to-hand combat.
    • 45 Metascore
    • 25 Critic Score
    It comes as no surprise that writer-director Vincent Grashaw wrote the first draft of this movie soon after graduating high school.
  20. In the end, any and all potential B-movie fun is extinguished by Ragnarok's depressingly listless anonymity.
  21. If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
    • 46 Metascore
    • 25 Critic Score
    The film, based on the novel by Gayle Forman, is an almost deliberate confirmation of Alison Bechdel's claim that women in film are so often shown only in relation to men.
  22. If not for its lack of self-awareness, The Art of Getting By would seem to be a spoof of ennui-inflicted teen dramas, because how else to explain the fact that Gavin Wiesen's debut is comprised of only clichés of clichés?
  23. David Guy Levy's movie foregrounds the potential ugliness of modern technology in order to comment on it. But that doesn't make the film's visuals any less hideous.
  24. There's nothing wrong with establishing a field of unlikable characters, but The Ledge not only relies on paper-thin stereotypes, it keeps its allegiances clear from the beginning.
  25. Only a few snippets escape the uncritical narcissism that the film celebrates and, despite their unimaginative employment, they stand as something of a rebuke to the film's dominant images.
    • 31 Metascore
    • 12 Critic Score
    Renny Harlin seems now incapable of taking a movie even as far as a few frames.
    • 18 Metascore
    • 12 Critic Score
    Stripped Down seems to prove, if other films hadn't already for you, that a director haunted by traumas and wrestling with demons doesn't necessarily produce artistically substantial films.

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